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Who it is I am

I'm a libertine with a conscience who refuses to acknowledge a distinction between work and play, who believes that you don't get the days back and therefore aspires to embrace the eternally messy present for what it is; a gift. And all gifts should be shared.

Within this framework I'm also a dad, an angel investor, a business owner, deeply passionate about the visual arts, music, literature, technology and politics (the degrees of interest aren't equal and what's posted here is a fair barometer of what captures my attention), and a dedicated philanthropist.

Do I contradict myself? Very well, then I contradict myself, I am large, I contain multitudes. - Walt Whitman

robert@fastorbit.com

212-671-2030

Affiliations

Updated 09/19/2012

Board Member: Hallwalls Contemporary Arts Center "Whenever someone asks me where I studied art, I always say it was at Hallwalls." - Cindy Sherman

Former Board Member: No Longer Empty: No Longer Empty redefines public art through temporary site -specific exhibitions that draw together the vitality of the contemporary art world and the values of building community.

Owner: Fast Orbit, LLC

Owner/Partner: ParkSleepFly.com

Owner/Partner: AirportParkingReservations.com

Owner/Investor: Wireless-NRG: Innovative consumer, commerical and industrial applications using unique solar technology.  Stay tuned for the imminent introduction of the Lillypad (Kudocase) for IPad, IPad2, IPad3.

Owner/InvestorVeenome - a video enabling platform translating video content into machine-readable data for superior organization, publishing, searching and monetization.

Owner/InvestorSocial Prize: Social Prize is a new way of sharing that makes it easy for you to share what you like with your friends and win. For the everyday business owner, Social Prize evens the odds by making it a snap for you to use social sweepstakes as a cost-effective means to get the word out about your business and grow your customer base.

Owner/Investor: uKnow.com:
Smart Tools.  Safer Kids
Keep your kids safe from bad guys and bullies online and on the mobile phone.

Projects & Participation

Updated 09/19/2012

Loan: Oded Hirsch's 50 Blue to Art Miami's curatorial project CONTEXT, December 2012 (curated by Julia Draganovic)

Collector-level Member - Issue Project Room 

Sponsor of Hallwalls
Fall 2012 Music Program

Nora Ligorano/Marshall Reese: Morning In America Ice Sculpture at the RNC/DNC Conventions

Composer Poul Ruders: New Symphonic Music (including a solo piano commission)

Channeling Coltrane: A concert video of "Electric Ascension"

Grammar: A documentary film about Jason Moran

Even Though the Whole World is Burning: A film about the life and work of Poet Laureate, two-time Pulitzer winner, and environmental activist W.S. Merwin.

George: A feature length documentary on George Maciunas, the founder and impresario of Fluxus, the radical international art movement.

Electronic Arts Intermix Benefactor
Founded in 1971, Electronic Arts Intermix (EAI) is a nonprofit arts organization that is a leading international resource for video and media art. A pioneering advocate for media art and artists, EAI's core program is the distribution and preservation of a major collection of over 3,500 new and historical video works by artists. For 40 years, EAI has fostered the creation, exhibition, distribution and preservation of video art, and more recently, digital art projects. 

Sponsor: Kreppa: A Symphonic Poem about the Financial Situation in Iceland
By: Örn Alexander Ámundason, Performed by Metropolis Ensemble, Andrew Cyr, Artistic Director/Conductor
The Armory Show 03/07/2012 The Wall Street Journal Media Lounge

Sponsor of Hallwalls
Winter 2012 Music Program

Sponsor of Hallwalls
Fall 2011 Music Program

Richard Garet (refer to post)
Espacios No-Euclídeos
Curated by Laura Bardier
11 August - 30 October 2011
EAC – Espacio Arte Contemporáneo
Montevideo, Uruguay  http://www.eac.gub.uy

Steve Swell's Nation of We Recording: "The Business of Here"

Producer (one of thousands) of the upcoming 2011 film: Lemonade: Detroit

Contributor: +Pool: A Floating Pool in the River For Everyone

Challenge grant to the Metropolis Ensemble for the recording of composer Timothy Andres on Nonesuch Records Fall 2011.  (Supporting contemporary composition is critical to the health of the culture and visionary Director Andrew Cyr is a living, breathing exemplar of leadership.)

Sponsor: No Longer Empty's About Face art exhibition May/June 2011

Sponsor: Hallwalls Artists & Models 2011 - RAPTURE/RUPTURE May 2011

Principal Benefactor NMC Recordings

Donor of artist Kate Gilmore's (a tireless, fearless creator with a limitless imagination) "Blood From a Stone" to the Brooklyn Museum 2010.

Bedrock financial support for the Cecil Taylor / Tony Oxley 2LP limited edition recording "AILANTHUS / ALTISSIMA bilateral dimensions of 2 root songs" on Triple Point Records.

Sponsor of composer Mayke Nas and artist Joe Diebbes at the 2010 Liverpool Bienniel.

Sponsor of numerous Hallwalls concerts including: Cecil Taylor's 80th birthday performance, Evan Parker & Ned Rothenberg, Henry Grimes solo, Chicago Underground duo, etc.

Commissioned Composer Frederic Rzweski's "Peace Dances" as part of pianist Sarah Cahill's project "A Sweeter Music."

Causes & Contributions

Updated 08/03/2012

UnPac

The Woodshed at the Jazz Gallery

World Food Programme

Jazz Foundation of America

Wordplay: Celebrating Buffalo's Youngest Writers

Join My Village: a click-to-commit social change initiative that gives you the power to inspire charitable donations from companies to women and girls in Malawi through CARE.

Hallwalls

Buffalo Olmsted Parks Conservancy

It Gets Better

Catalog Choice

Village Enterprise Fund

This Week in Tech's (TWIT) new studio

CMH Counseling, Buffalo, NY

Worldreader

Mercy Corp

Food Bank of Western New York

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Thursday
Jan262012

A popped cherry and its discontents or Keith, oh Keith

The ghost of Keith Jarrett at Carnegie Hall 01/26/2012

Yes, it's true, I saw Keith Jarrett perform for the first time last night - at Carnegie Hall.  Yup, the cherry's forever popped now. There, I said it. Phew. I feel a little better already.

To put it mildly, I was feeling embarrassed and self-conscious about losing my virginity so publicly. Especially at my age. Worst of all, it felt like everyone knew just how chaste a life I'd lived (my tepid clapping the first dead giveaway).

For Christsake!  This wasn't hanky panky on the downlow at a romantic little night club.   Surrounded by libidinous loons making the type of clamor generally reserved for Justin Bieber or Mick Jagger (depending on one's age and gender I guess) I felt completely exposed (no riotous whooping or Bravo! the second telltale sign).  Carnegie had all the sensuality of a fucking (a shamefully obvious pun) stadium!  

If only I had been afforded some quiet, intimate place where I could've hid my innocence, my inexperience and ultimately...it's so hard to admit in these delicate matters - dissapointment.  The first time's supposed to be extra special goddamnit!  

Mr. Jarrett appearing at Carnegie Hall, even if it's for the 18 millionth time, is still ipso facto a HISTORICAL event.

Alright already.  Stop your whispering, the snide remarks made behind my back at the precise amplitude required for audibility.  "Sex is sex [or Jarrett is Jarrett for the more literal minded among you] so first time or not be grateful." I know, I know, but this was Keith Jarrett when what I had so eagerly anticipated was KEITH JARRETT. Can one be grateful and sulk simultaneously?

Don't misunderstand.  His performance was perfectly enjoyable.  A splendid respite, a much needed and serendipitously timed balm after absorbing and carefully extracting the metaphysical shrapnel left by Iranian Director Asghar Farhadi's brilliant new film, A Separation (more to follow in a subsequent post) earlier in the afternoon.

Most of the Jarrettian hallmarks were evident:  The light touch even in rhythmically assertive passages; the interspersion of ballads sentimental and irresistible; the continued trend of shorter rather than extended improvisations; moments of genuine inspiration in the form of surprise endings that refocused my wandering attention; the amusing physicality of his performance style - standing, crouching, grunting; the obsequious audience approval resulting in several encore performances (and it was here, at the climax, you could intuit him feeding off the energy in the hall - though by this point it felt more like a dribble than a spurt).

Nonetheless, the gig (as opposed to "concert," sorta like sex, as opposed to "making love") will be remembered as much for his variations on the theme of apologizing (delivered over the course of the evening with great good humor and gracious humility) for his legendary attacks on his admirers as for his unmistakable sound.  These playful mea culpas had all the inverse qualities usually associated with the Bad Boy of jazz piano even if so many of us secretly (though not me of course) lusted for his next rant as we uttered our disgust at such distasteful antics.

Now that was SEX!  That was a performance!

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